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Dwayne Johnson Gets the Rights to the Name ‘The Rock’, Joins Board of WWE Owner TKO Group 

Dwayne Johnson. (AP)
Dwayne Johnson. (AP)
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Dwayne Johnson Gets the Rights to the Name ‘The Rock’, Joins Board of WWE Owner TKO Group 

Dwayne Johnson. (AP)
Dwayne Johnson. (AP)

It is a name that has become almost synonymous with professional wrestling but its bearer, Dwayne Johnson, has never legally owned "The Rock."

That will change under a new agreement with the WWE under which Johnson will also join the board of TKO Group, the sports and entertainment company that houses WWE and UFC.

"The Rock" is a name derived from Johnson's father, WWE Hall of Famer Rocky Johnson, who was the first Black champion in WWE history (alongside partner Tony Atlas), according to the WWE.

Johnson, a movie and wrestling star, has a business portfolio that includes production company Seven Bucks Productions, energy drink company ZOA Energy, Project Rock apparel brand and the United Football League.

"I am thrilled to partner with Dwayne and welcome his immense talent to TKO’s Board," TKO CEO Ariel Emanuel said in a prepared statement. "Dwayne brings an incredible track record of creating content and building globally recognized consumer brands, and he will play a key role in realizing our ambitions for TKO."

TKO Group Holdings Inc. says Johnson's board appointment, effective Tuesday, reflects its "commitment to delivering long-term value and strong performance for shareholders through strategic growth initiatives across both UFC and WWE."

Johnson began his wrestling career with WWE in 1996. He has recently appeared on World Wrestling Entertainment Inc.'s "Smackdown" and "Raw" television programs, with rumors swirling that he may compete at this year's WrestleMania.

"I’m very motivated to help continue to globally expand our TKO, WWE, and UFC businesses as the worldwide leaders in sports and entertainment — while proudly representing so many phenomenal athletes and performers who show up every day putting in the hard work with their own two hands to make their dreams come true and deliver for our audiences," Johnson said in a prepared statement. "I’ve been there, I’m still there and this is for them."

TKO also announced Tuesday that Brad Keywell will become a board member. Keywell has co-founded and led multiple companies, including Groupon, Echo Global Logistics, MediaOcean, and Uptake Technologies, where he is currently founder and executive chairman.

The additions of Johnson and Keywell will increase TKO's board from 11 to 13 members.

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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)

Joanna Levesque shot to stardom at 13. Two decades later, “JoJo” — as she’s better known — has written a memoir and says the song responsible for her meteoric rise, “Leave (Get Out),” was foreign to her. In fact, she cried when her label told her they wanted to make it her first single.

Lyrics about a boy who treated her poorly were not relatable to the sixth grader who recorded the hit. And sonically, the pop sound was far away from the young prodigy's R&B and hip-hop comfort zone.

“I think that’s where the initial seed of confusion was planted within me, where I was like, 'Oh, you should trust other people over yourself because ... look at this. You trusted other people and look how big it paid off,’” she said in a recent interview with The Associated Press.

“Leave (Get Out)” went on to top the Billboard charts, making Levesque the youngest solo artist ever to have a No. 1 hit.

“I grew to love it. But initially, I just didn’t get it,” she said.

Much of Levesque’s experience with young pop stardom was similarly unpredictable or tumultuous, and she details those feelings in her new memoir, “Over the Influence.”

With “Leave (Get Out)” and her several other commercial hits like “Too Little Too Late” and “Baby It’s You,” Levesque’s formative years were spent in recording studios and tour buses. Still, she had a strong resonance with teens and young people, and her raw talent grabbed the attention of music fans of all ages.

“Sometimes, I don’t know what to say when people are like, ‘I grew up with you’ and I’m like, ‘We grew up together’ because I still am just a baby lady. But I feel really grateful to have this longevity and to still be here after all the crazy stuff that was going on,” she said.

Some of that “crazy stuff” Levesque is referring to is a years-long legal battle with her former record label. Blackground Records, which signed her as a 12-year-old, stalled the release of her third album and slowed down the trajectory of her blazing career.

Levesque said she knows, despite the hurdles and roadblocks the label and its executives put in her path, they shaped “what JoJo is."

“Even though there were things that were chaotic and frustrating and scary and not at all what I would have wanted to go through, I take the good and the bad,” she said.

Levesque felt like the executives and team she worked with at the label were family, describing them as her “father figures and my uncles and my brothers." “I love them, now, still, even though it didn’t work out,” she said.

With new music on the way, Levesque said she thinks the industry is headed in a direction that grants artists more freedom over their work and more of a voice in discussions about the direction of their careers. In 2018, she re-recorded her first two albums, which were not made available on streaming, to regain control of the rights. Three years later, Taylor Swift started doing the same.

“Things are changing and it’s crumbling — the old way of doing things,” she said. “I think it’s great. The structure of major labels still offers a lot, but at what cost?”

As she looks forward to the next chapter of her already veteran-level career, Levesque said it’s “refreshing” for her to see a new generation of young women in music who are defying the standards she felt she had to follow when she was coming up.

“'You have to be nice. You have to be acceptable in these ways. You have to play these politics of politeness.’ It’s just exhausting,” she said, “So many of us that grew up with that woven into the fabric of our beliefs burn out and crash and burn.”

It’s “healing” to see artists like Chappell Roan and Billie Eilish play by their own rules, she said.

In writing her memoir and tracing her life from the earliest childhood memories to today, Levesque said she’s “reclaiming ownership” over her life.

“My hope is that other people will read this, in my gross transparency sometimes in this book, and hopefully be inspired to carve their own path, whatever that looks like for them.”